I think you should have used [line~] instead of [line], it works better with amplitude control. I really like this kind of sci-fi score experimentation.
Hey. I really like your videos and enjoyed this one as well. You might have figured it out by now, but it might be of interest for the inclined viewer: you could have set a [delay] parallel to the line, which gets set and triggered like the release message. 😀
Hi Simon, I am a very enthusiast synth programmer, mastering the complex Kurzweil PC3, but Pur e Data has been a rock in my shoe for many years. This video has been my first really product ive learning with PD, so I am enormously grateful to you.
This video is a delight to watch and listen to. I'm not a PD user but it was still immensely useful to see the sound come to life in real-time. Thanks!
I found this tutorial from the link in your recent Eurorack Krell example (Dec 22, 2022) . Thanks! I thought you might like to know that folks are still doodling around with inspiration from the older posts. For the end-of-cycle issue (~9:20 in this video), an alternative might be: [line~] -> [env~] -> [change 0] -> [sel 0] -> [send EOC] (using [line~] as Mister Conscio suggests in the pinned comment set. For [line] you can, of course, eliminate the [env~] follower.) I had great fun adding quantized scales to the carrier and/or the modulator oscillators, still with independent random note selection. The weirdness of unpredictable C/M ratios still leads to cool variations in timbres, but different scale constraints seem to partially establish approximate (major, minor, lydian, etc) sonic playing fields. Or maybe it's just my imagination. :-)
Ha! Thanks! Good ideas here. There are definitely different (better) ways to do things. I tend to get the sound I want, then not worry too much about revisions, but glad to hear this can still serve as a starting point!
